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kramergfy Heavyweight Member
Joined: 13 Apr 2004 Posts: 992 Location: Los Angeles, CA
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Posted: Fri Aug 13, 2004 12:12 pm Post subject: |
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I was listening to the Kill Bill Vol.2 soundtrack, and I was curious about the trumpet solo in the alst track, "Urami Bushi". The trumpet has a Latin feel to it, kind of dark, almost flugel horn, but retains the brightness of a trumpet. I was wondering if a very deep mouthpiece is usually used when approaching this type of sound or a type of trumpet can help. Thanks |
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StewMuse Heavyweight Member
Joined: 26 Apr 2003 Posts: 515 Location: CHICAGO
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Posted: Sun Aug 15, 2004 6:06 am Post subject: |
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Well, how this particular player got his/her sound to be that way is anyone's guess, but you'd be surprised how much you can alter a person's sound in the studio. Even with just a mic, you can accentuate the different levels of sound (low vs. high), place the trumpet belll directly into or be far away from the mic, and the type of mic itself influences the sound. Then, with all the digital trickery available, the options are fairly unlimited... or maybe that's just how that player sounds! _________________ Dr. Michael Stewart
www.stewmuse.com
My iBooks currently available: Military Bugle Calls, Courting the Upper Register, Building Trumpet Technique, Tuff Keys, CUR II: JAZZ, Trumpet Rounds, Beginning Jazz for Young Trumpeters, Cigars @ Home |
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dbacon Heavyweight Member
Joined: 11 Nov 2001 Posts: 8592
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Posted: Sun Aug 15, 2004 10:40 am Post subject: |
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I believe it starts with the players ability to change their concept of sound inside their imagination. The next step might be to have a mouthpiece much like Mark Curry's TF, or one made by Reeves (forgot the numbering) that's a flugel piece with a trumpet shank and allows you to more easily achieve that sound. Cornet is used much more in the studio than we often realize. But listen to Uan Rasey on China Town. Same horn/mouthpiece he played lead on for that incredible sound he used for that solo. Of course, he played a large mouthpiece all the time and performed with the most magic sound perhaps ever recorded. A truly unlimited trumpet player. He saw my Piccolo in my case once before a lesson and asked, "Have you played the Brandenburg?" He proceded to play it for me...on his Bflat. Clear, clean, light, musically. An excellent lesson right there.
I've heard Allen Vizzutti do virtually the same thing in clinics.
Uan had a beautiful Cornet on his wall in his living room, the one he used in the studios and played all those great solos in the "Red Badge Of Courage." I think it's one he got from H.L. Clarke when he was a student of Clarke's. To hear Uan play Clarke Studies was to hear Clarke play himself. |
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